Not only is [Boister’s] music wonderful, but the timing is spot on.

Roger Ebert



Video Clips from ‘Intolerance

Baltimore City Paper: Q&A With Anne Watts on Composing and Performing ‘Intolerance’

Washington Post: Boister, ‘Intolerance,’ and the Art of the Amazing Convergence

Anne Watts brings passion and invention to Boister’s new score for ‘Intolerance’ at MICA-

Martin Scorsese Explains the Genius of ‘Intolerance

Anne Watts & Boister – The John F. Kennedy Center for the Performing Arts

Boister’s ‘Intolerance’ Called “Hip and Hypnotic” by Baltimore’s What Weekly


Boister’s ‘Intolerance’ is thrilling… The band so profoundly understands that the film is about how rhythm propels us through time and space, and makes that rhythm tangible for everyone.. Not to mention the true chill I experienced when the young girl (Posie Lewis) sang…

Tom Gunning, Chair, Department of Cinema & Media Studies, University of Chicago

Boister’s great challenge was to deliver a score that dynamically accompanied one of the greatest films in history. What was achieved surpassed that; they have added another dimension to DW Griffith’s masterful vision: a modern, complex and amazing layer…filled with beautiful truth.

Gerald Ross, Director of Exhibitions, Maryland Institute College of Art

With no sugar coating at all, I have to say that Boister’s ‘Intolerance’ is one of the best things I have ever experienced in the theatre.  I never looked at my watch once during the whole evening!

Decatur Miller,  former President of the Board of Directors, Baltimore Symphony Orchestra

Boister’s genre-bending iconoclasm is the perfect fit for Keaton’s signature blend of pathos, physical comedy, and technical virtuosity: [Anne] Watts’s composition creates an aural narrative just as poignant, witty, and breathtaking as the images onscreen.

Ann Hornaday, The Washington Post

Boister can, over the course of a few scenes, shift from a Pink Floyd bass line to “It Had To Be You” to a Kurt Weill melody.  When the audience recognizes a tune, and its perfect insertion into the score, it provides a heightened sense of participation, as if the band and the audience were collaborating in refreshing the old with the new.

Mark Alice Durant Link: A Critical Journal on the Arts

Sharing an audience’s thrill as it discovers Greta Garbo’s luminosity and revels in Boister’s imaginative score [for Love] is one of life’s great cinematic experiences.

Jed Dietz, Director, Maryland Film Festival

Boister’s musical amalgam of classic Russian compositions and lyrical, rampaging jazz has freshness, invention, and–what’s most crucial of all–an urgent, eddying passion.

Michael Sragow, Baltimore Sun

Boister film scores include:

Intolerance, directed by D.W. Griffith, commissioned by the Maryland Institute, College of Art, in conjunction with the exhibition, “The Narcissism of Minor Differences.” Steamboat Bill, Jr., Buster Keaton, commissioned by the Walters Art Museum Film Series Seven Chances, Buster Keaton, commissioned by the Virginia Film Festival Love, with Greta Garbo, commissioned by the Maryland Film Festival Our Hospitality, commissioned by the Creative Alliance at the Patterson and Evergreen House of Johns Hopkins University Lantern Towers and Magic Shadows, Nana Projects, commissioned by the John Michael Kohler Art Center 

410-330-4339 - Facebook Icon MySpace Icon - Home

Launch the Music Player